Nicol Epple Wk 3-Monday Inspiration As to what Fanny may have said when reading the poetry of Michael Field can only be speculation on my part, but speculation contrived from the presentation of Fanny’s character thus far in the first two volumes of Mansfield Park. I will share my thoughts, Fanny’s thoughts, of two poems. Poem XIV from Michael Field discloses the sensual love. The narrator addresses “Atthis” as “my darling” (211). Since Atthis was historically famed as a pupil of Sappho, one can assume that the narrator is also a woman, probably Sappho. The two share a bed, the fact of which is exposed by the dawning light (15). Assuming the poem speaks of two women, this line makes the same-sex relationship explicit. I am not familiar with gay culture during this time outside of Oscar Wilde. I can only imagine that society condemned and ostracized those who practiced same-sex relationships. The love described in this poem does not wax erotic, rather real and soul-felt. The narrator seems to fear both the death of Atthis (4) and her own (17-18). But in this fear, there is a sense of peaceful resignation in the truth that “our breath/ Nor light nor darkness shall divide” (211). What would fanny say to this? I assume Fanny’s conscience, her inner guide, to be based and formed from Protestantism, or more accurately English Anglicanism. Thus, Fanny would have disapproved such a breach of ethics of homosexuality whole-heartedly. Of course, she would have kept her thoughts to herself. I especially love the sensual and erotic lure of the lines from Field’s poem, “Leonardo da Vinci.” The poem consists of only eleven lines and in reading the first five lines I could almost imagine Fanny appreciating their art. The notes state that the subject of da Vinci’s gaze is Mona Lisa. The first five lines describe her face: “A smile of velvet’s lustre on the cheek;/ Calm lips the smile leads upward; hand that lies/ Glowing and soft, the patience in its rest” (1-3). At this point in reading I conceive that Fanny would have felt somewhat uncomfortable by the intimacy of this physical, and perhaps emotional, closeness. Though, still I could imagine her appreciating this depiction. But in reading the following titillating verses, I feel Fanny’s blush: “Of cruelty that waits and doth not seek/ For prey; a dusky forehead and a breast/ Where twilight touches ripeness amorously” (5-7). “TMI!” says Fanny. Such erotic expression of love is inappropriate to speak of, let alone to write about for the public! Well, that’s my rendition of Fanny’s comment on that. Of course, Fanny would not divulge her thoughts unless you were to ask her. The last lines of the poem develop the subject within the setting of nature and are aesthetically pleasing to the eye, ear, and imagination. The last line gives the climax of da Vinci’s thoughts of Mona Lisa, “For those vicissitudes by which men die” (11). After, looking up the meaning of “vicissitude” I appreciate the appreciation of the nuances of beauty that da Vinci beholds. But I would have to say that as yet Fanny has shown me no behavior of character to think that she would appreciate such deep and deeply felt sentiments. Yes, Fanny feels. The citation that comes closest to Fanny having heightened or deep emotions is this: “She had nothing more to wish for. She had hardly ever been in a state so nearly approaching high spirits” (281). But notice that is the end of it. Her feelings are stated—the depiction of which is quite lack-luster indeed—and then Fanny shows no outwardly physical expression of such joy. The realization of Fanny’s cool reserve along with my own appreciation of this poem makes me a little disappointed in her. If I were standing in the Louvre gazing at the Mona Lisa listening to this poem I would want Corinne beside me to share the experience, not Fanny.
Wk 3-Monday
Inspiration
As to what Fanny may have said when reading the poetry of Michael Field can only be speculation on my part, but speculation contrived from the presentation of Fanny’s character thus far in the first two volumes of Mansfield Park. I will share my thoughts, Fanny’s thoughts, of two poems.
Poem XIV from Michael Field discloses the sensual love. The narrator addresses “Atthis” as “my darling” (211). Since Atthis was historically famed as a pupil of Sappho, one can assume that the narrator is also a woman, probably Sappho. The two share a bed, the fact of which is exposed by the dawning light (15). Assuming the poem speaks of two women, this line makes the same-sex relationship explicit. I am not familiar with gay culture during this time outside of Oscar Wilde. I can only imagine that society condemned and ostracized those who practiced same-sex relationships. The love described in this poem does not wax erotic, rather real and soul-felt. The narrator seems to fear both the death of Atthis (4) and her own (17-18). But in this fear, there is a sense of peaceful resignation in the truth that “our breath/ Nor light nor darkness shall divide” (211). What would fanny say to this? I assume Fanny’s conscience, her inner guide, to be based and formed from Protestantism, or more accurately English Anglicanism. Thus, Fanny would have disapproved such a breach of ethics of homosexuality whole-heartedly. Of course, she would have kept her thoughts to herself.
I especially love the sensual and erotic lure of the lines from Field’s poem, “Leonardo da Vinci.” The poem consists of only eleven lines and in reading the first five lines I could almost imagine Fanny appreciating their art. The notes state that the subject of da Vinci’s gaze is Mona Lisa. The first five lines describe her face: “A smile of velvet’s lustre on the cheek;/ Calm lips the smile leads upward; hand that lies/ Glowing and soft, the patience in its rest” (1-3). At this point in reading I conceive that Fanny would have felt somewhat uncomfortable by the intimacy of this physical, and perhaps emotional, closeness. Though, still I could imagine her appreciating this depiction. But in reading the following titillating verses, I feel Fanny’s blush: “Of cruelty that waits and doth not seek/ For prey; a dusky forehead and a breast/ Where twilight touches ripeness amorously” (5-7). “TMI!” says Fanny. Such erotic expression of love is inappropriate to speak of, let alone to write about for the public! Well, that’s my rendition of Fanny’s comment on that. Of course, Fanny would not divulge her thoughts unless you were to ask her. The last lines of the poem develop the subject within the setting of nature and are aesthetically pleasing to the eye, ear, and imagination. The last line gives the climax of da Vinci’s thoughts of Mona Lisa, “For those vicissitudes by which men die” (11). After, looking up the meaning of “vicissitude” I appreciate the appreciation of the nuances of beauty that da Vinci beholds. But I would have to say that as yet Fanny has shown me no behavior of character to think that she would appreciate such deep and deeply felt sentiments. Yes, Fanny feels. The citation that comes closest to Fanny having heightened or deep emotions is this: “She had nothing more to wish for. She had hardly ever been in a state so nearly approaching high spirits” (281). But notice that is the end of it. Her feelings are stated—the depiction of which is quite lack-luster indeed—and then Fanny shows no outwardly physical expression of such joy. The realization of Fanny’s cool reserve along with my own appreciation of this poem makes me a little disappointed in her. If I were standing in the Louvre gazing at the Mona Lisa listening to this poem I would want Corinne beside me to share the experience, not Fanny.